Writing Project: The Wall and Peter Framptonstein
Easton Wilkins
Prof. Meehan
Literature and Composition
March 23, 2010
I Think Bob Geldof Would Make a Damn Good Victor
The attention commanded by the novel Frankenstein is interspersed throughout the entire work, yet the entire story seems to be focused (historically speaking) around the actual creation of the monster; notably referred to as “the birth scene”. Through various film productions and other performances, the legend of Frankenstein and his master has been examined through many beings directly and indirectly. A film more indirectly relating to Frankenstein is Pink Floyd’s The Wall. Through a select number of scenes, themes and placeholders in Shelley’s Frankenstein are found and given new relevance to other audiences, and even a better understanding of The Wall itself.
Film, as a medium electrifies its subjects in ways novels and standard paper tellings could not do in such a precise manner; the execution of film and sound together work as a unique sensory experience that draws deep and powerful emotion from those watching and listening. The Wall, in this instance, is no different in its ability to capture the viewer in its rapturous array of vivid animations and intense, colorful sound and stage technique. The story of Frankenstein is one that leaves many scenes in its blatant textual setting; therefore open to a grand space of interpretation and dissection. Arguably the most famous scene in the novel and that of the entire gothic genre, the creation scene is one that is fantastically orchestrated (in my eyes) within The Wall by animated horror and the exposition of mental creations and the idea of childbirth.
The key moments I wish to bring into focus in the scene are of that in its later stages (in the context of this film, I am defining the length of the scene by the length of the song that is playing in the background); in this case when the instruments and singing begin in “Don’t Leave Me Now” the real episode unfolds. Pink (Bob Geldof) sits in his undies, in a room with only a chair, lamp, and television when the shadow of a slender woman appears on the wall, and quickly evolves into an animated flower beast devil (believed to represent Pink’s inner torture he has created in his own psyche) and intertwines with a sex scene involving his love and some political spook. The scene provides the theme of birth as a strong ingredient in Pink (Victor’s) madness and is a parallel to the shock Victor experiences when his monster is born. The interpretation played out through the film suggests that the absurd action of Pink is natural in its point of creation, while the appearance of Victor’s reaction is caused by the unnatural birth of his creature.
This section of the novel in particular is when Victor’s character begins to undergo a radical amount of change, as does Pink in the film. The consistent torment that both of them experience is similar and indifferent. That is to say, Pink has not created another physical monster but has undoubtedly morphed into one on a serious psychological level. Meanwhile Victor’s creature, in its physical form causes him to attach himself to the life of the monster and collapse under the obsession. From their points of conception (Victor’s pondering of alchemy, Pink’s upbringing, schooling) both creators seem prophesized to become enveloped in their endeavors, and so they entwine with their creations; attached with no hope.
Due to their absurd nature and consequential behavior (Pink’s frantic fits, hallucinations, Victor’s hermit like growth, deaths caused by the monster) both creatures as we shall call them, are cast out of their normal setting due to their own actions whether physically or mentally. An example comes in The Wall where Pink is leading a Hammer rally (Nazis) and he sings; “Are there any queers in the theatre tonight? Get ‘em up against the wall.” This portion of the song “In the Flesh?” ironically singles out Pink as the outcast. Opposed to the various people he continues to name and offend, Pink almost imagines himself living vicariously through his dictator; even though the role functions the same in all of his hallucinations. The rally is also a good example of how film can create wonderful imagery that can only be dreamt of in novels; live, powerful color and noise.
Roger Water’s in depth look of the human mind reminds us that, like in Frankenstein, the monsters we wish to escape are the ones we create ourselves. Pain and mental destruction are the only things that follow in the footsteps of Victor and Pink, two of history’s great monsters. The tragedy darkens the figure in every way, and light may only be uncovered whence the wall falls down.
